Professional Documents
Culture Documents
6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area
known at that time as
A. England
B. Spain
C. Flanders
D. Scandinavia
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8. The leading music center in sixteenth-century Europe was
A. Flanders
B. Spain
C. Germany
D. Italy
13. The two main forms of sacred Renaissance music are the mass and the
A. cantata
B. Kyrie
C. madrigal
D. motet
15. The movement in which the Catholic church sought to correct abuses and malpractices within its
structure is known as
A. the Reformation
B. Protestantism
C. the Counter-Reformation
D. the Inquisition
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16. The Renaissance madrigal began around 1520 in
A. France
B. England
C. Flanders
D. Italy
18. A madrigal, like a motet, is a vocal composition that combines homophonic and polyphonic textures,
but it differs from the motet in that it
A. uses a vernacular rather than Latin text
B. more often uses word painting and unusual harmonies
C. both a and b
D. neither a nor b
20. The madrigal anthology The Triumphes of Oriana was written in honor of
A. Queen Elizabeth I
B. Queen Anne
C. the goddess Diana
D. King Henry VIII
23. Which of the following statements regarding the Renaissance is not true?
A. Much of the instrumental music composed during the Renaissance was intended for church use
B. Secular vocal music was written for groups of solo voices and for solo voice with instrumental
accompaniment.
C. Secular music contained more rapid changes of mood than sacred music.
D. A wealth of dance music published during the sixteenth century has survived.
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24. Much of the instrumental music composed during the Renaissance was intended for
A. the concert hall
B. the piano
C. religious worship
D. dancing
27. Which of the following composers was not a member of the Venetian school of the sixteenth century?
A. Andrea Gabrieli
B. Carlo Gesualdo
C. Giovanni Gabrieli
D. Adrian Willaert
31. Unlike most Renaissance choral music, Venetian choral music of the late sixteenth century often
A. contained parts written exclusively for instruments
B. used both male and female voices
C. was scored for four to six voices
D. was predominantly in triple meter
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32. Famous Italian composer and influential teacher (1556-1612) who established one of the first purely
instrumental styles in his canzonas and sonatas. He was the 1st to write vocal works with an
independent instrumental accompaniment. He also expanded the motet for 2-5 choirs, some of them
instrumental (concerto style)
A. Orlando Lassus
B. Giovanni Gabrieli
C. Giovanni Palestrina
33. English composer (c.1390-1453), the best English composer of his generation also a renowned
mathematician and astronomer.
A. William Byrd
B. John Dunstable
C. Giovanni Gabrieli
34. Italian composer (1524-1594) who lived and worked during Counter-Reformation. He returned church
music to the simplicity and purity of earlier times and his style was officially sanctioned by the church
and became known as the stile antico or “old style”.
A. Giovanni Gabrieli
B. Giovanni Palestrina
C. William Byrd
35. Franco-Flemish Composer (1420-1497) known as the “Prince of Music” for his generation.
A. Josquin des Prez
B. Giovanni Palestrina
C. Johannes Ockeghem
36. Belgian composer and gifted teacher (1440-1521) who was known as the Greatest Master of his time.
He developed Franco-Flemish style to its highest point and his polyphonic style distinguished by his
use of imitation. His compositions showed the impact of humanism due to his extensive use of word-
painting.
A. Josquin des Prez
B. Orlando Lassus
C. Giovanni Palestrina
37. Franco- Flemish Composer (1532-1593) known as the “Prince of Music” for his generation and
honored with knighthood.
A. Josquin des Prez
B. John Dunstable
C. Orlando Lassus
38. English composer (1543-1623) known as the finest Elizabethan composer of this time.
A. John Dunstable
B. William Byrd
C. Giovanni Gabrieli
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Renaissance Practice Test Answer Kay
1. D
2. D
3. B
4. C
5. B
6. C
7. C
8. D
9. D
10. D
11. B
12. A
13. D
14. A
15. C
16. D
17. D
18. C
19. D
20. A
21. B
22. C
23. A
24. D
25. C
26. A
27. B
28. D
29. D
30. B
31. B
32. B
33. B
34. B
35. C
36. A
37. C
38. B